Ghost Of is a mourning song, not an exorcism or un-haunting of that which haunts, but attuned attention, unidirectional reaching across time, space, and distance to reach loved ones, ancestors, and strangers. By working with, in, and around the photographs that her brother left behind (from which he cut himself out before his death), Nguyen wrestles with what remains: memory, physical voids, and her family captured around an empty space.

Born in Los Angeles, Diana Khoi Nguyen is a poet and multimedia artist whose work has appeared widely in literary journals such as Poetry, American Poetry Review, Boston Review, PEN America, and The Iowa Review, among others. A winner of the 92Y's Discovery / Boston Review 2017 Poetry Contest, she is a PhD candidate in creative writing at the University of Denver.

Bin Ramke's first book was a Yale Younger Poets selection. His thirteenth, LIGHT WIND LIGHT LIGHT, will be published in 2018 by Omnidawn. He teaches at the University of Denver where he also edits the DENVER QUARTERLY.

Diana Arterian is the author of Playing Monster :: Seiche (1913 Press, 2017), the chapbooks With Lightness & Darkness and Other Brief Pieces (Essay Press, 2017), Death Centos (Ugly Duckling Presse, 2013), and co-editor of Among Margins: Critical & Lyrical Writing on Aesthetics (Ricochet, 2016). A Poetry Editor at Noemi Press, her creative work has been recognized with fellowships from the Banff Centre, Caldera, Vermont Studio Center, and Yaddo, and her poetry, essays, and translations have appeared in Asymptote, BOMB, Black Warrior Review, Boston Review, Denver Quarterly, and Los Angeles Review of Books, among others. Born and raised in Arizona, she currently resides in Los Angeles where she is a doctoral candidate in Literature & Creative Writing at the University of Southern California.

Ingrid Rojas Contreras is a Colombian writer based in San Francisco. Her debut novel, Fruit of the Drunken Tree, is forthcoming from Doubleday in Summer 2018. Her essays and short stories have appeared in the Los Angeles Review of Books, Electric Literature, and Guernica, among others. She has been a fellow at Bread Loaf Writer's Conference and the San Francisco Writer's Grotto and has received scholarships and support from VONA, Hedgebrook, The Camargo Foundation, Djerassi Artist Residency Program, the San Francisco Arts Commission, and the National Association of Latino Arts and Culture. She is the book columnist for KQED.

Jane Wong's poems can be found in Best American Poetry 2015, American Poetry Review, Third Coast, jubilat and others. A Kundiman fellow, she is the recipient of a Pushcart Prize and fellowships from the U.S. Fulbright Program, the Fine Arts Work Center, Hedgebrook, and Bread Loaf. She is the author of Overpour (Action Books, 2016) and is an Assistant Professor of Creative Writing at Western Washington University.

Ghost Of is a mourning song, not an exorcism or un-haunting of that which haunts, but attuned attention, unidirectional reaching across time, space, and distance to reach loved ones, ancestors, and strangers.

Poetry. Asian American Studies. "Jane Wong's powerful first book OVERPOUR weaves together seemingly disparate topics such as war and child's play, language and exile, debt, animals and nature. By doing so, Wong creates a space between for the reader to enter. At the same time, by creating this space, she makes a space for possibility.

LIGHT WIND LIGHT LIGHT engages a childhood among rivers, takes steps into the river-like world at large, and then turns to (hopes for) metamorphosis. Transitions are marked with primitive signs, such as the visual dimensions of number--a concern that keeps arising as the poems ask how abstractions differ from matter.

Poetry. Women's Studies. PLAYING MONSTER:: SEICHE is a book-length poem that incessantly dodges between two narratives: the speaker's childhood experiences with an abusive father and, as an adult, increasingly aggressive acts made toward her mother by strange men. It is a piece of noir poetics. It is also memoir and documentary.

"When women of color write history, we see the world as we have never seen it before. In Fruit of the Drunken Tree, Ingrid Rojas Contreras honors the lives of girls who witness war. Brava I was swept up by this story."--SANDRA CISNEROS, author of The House on Mango Street